En transmediaberättelse kan beskrivas som ett berättande som sker över flera separata tekniska medier, där varje enskilt mediums innehåll kan stå självständigt, men i läsningen tillsammans bildar en större sammanhållen berättelse. De enskilda mediumen kan vara icke-berättande, interaktiva, uppmuntra till medskapande och vara helt valfria både vad gäller ordningen de konsumeras i och att ta del av över huvudtaget. En sådan berättelse, eller snarare berättelsekonsumtion ställer krav på en analysmodell. Uppsatsens syfte är att att beskriva användarens förhållande till berättelsebeteenden i det pågående transmediaberättandet, avseende tolkning och påverkan av produktionen. I studien genomfördes en explorativ litteraturstudie inom flera olika ämnesområden och resultatet har sammanställts i en beskrivande modell för berättelseprocessen. Modellen inkluderar en ny begreppsapparat, som inte utgår från vilken typ av produktion det handlar om. Den skildrar användarens förhållande till de berättelsestimuli som finns i olika framställningar och hur dessa genom tolkning sammanfogas till sammanhållande berättelser. Modellen berör även skapandet och medskapandet av sådana framställningar. Modellen prövas på ett exempel med samspel mellan en distinkt icke-berättande och en berättande komponent i form av en actionfigur och dess förpackningstext. Exemplet illustrerar hur actionfiguren utan att på något sätt själv vara en berättelse ändå besitter berättelsestimuli som gör att den passar in i den större transmediaberättelsen. Skaparen har planterat berättelsestimuli, men det är läsarens uppgift att knyta samman och genom sin föreställning omvandla en rad stimuli till en faktisk berättelse.

Why do seventy percent of Canadian Aboriginal students drop out of school? Although the literature focuses on reform to schools, school systems, and to the formal relationships that govern Aboriginal education, there is, as yet, a lack of empirically-based evidence from the perspectives of the people who have dropped out. The research was conducted in an adult education centre located in Winnipeg, Manitoba, Canada, and combines semi-structured interviews with an innovative Bead Workshop field-tested in other areas of identity conflict. The study asked 22 Aboriginal people how they make sense of their education experiences, inquired about why they dropped out of school, and invited them to share their hopes for the future. The trans-disciplinary nature of peace and conflict studies offers a new analysis when data were applied to Lederach’s (2003) conflict transformation framework. The findings showed that the participants quit school in the midst of very difficult and strikingly similar life circumstances, and they did not attribute dropping out to inadequacies in education or schooling, or to the effects of colonialism. The study expands the peace and conflict literature into the Canadian Aboriginal context while establishing a new research design and methodology. The study respects Indigenous research principles and combines them with conflict transformation principles to provide empirical evidence about why Aboriginal students drop out of school, and then extends the theoretical literature with a framework for exploring the role of deeper beliefs like love, courage, and hope in personal conflict transformation. Future research can be undertaken with larger groups of Aboriginal people to better understand their experiences in education and in other important areas of life, and to inform and advise Aboriginal policy and practice.

This study is about how the research of monsters and contemporary artists who create monster-related work can help create monsters from my own imagination using the process of synthesis. In it I discuss how the monsters I created in my artwork tell a story. I also talk about how this study can be used to relate art to other fields of study such as English and History, and the idea of Visual Culture.

Digital storytelling as a pedagogical practice has been extensively explored as a means of increasing engagement, developing 21st century skills such as creativity, critical thinking, collaboration and communication, and refining digital literacies in students. However, there is a lack of data on how the use of multimodal digital tools can be used to explore pervasive social issues such as bullying in adolescents. In this study, a group of grade seven students provided their views and self-assessed their levels of empathy and understanding for victims of bullying, bullies and bystanders prior to and after the completion of a digital storytelling project. Using Likert scale data, along with an in-depth content analysis of the stories and presentations the students produced, the study explored whether participation in this digital storytelling project led to a noticeable and measurable impact on their understanding of and empathy for victims of bullying, bullies and bystanders.

Recollecting Place is the product of an experiential approach to Landscape Architecture. It is at once the re-telling of a place that is expected to be quite foreign to the reader as well as an examination of the method by which landscape architects assume truth of a place. As professionals, we develop a method by which we examine a site, re-tell its truth and then alter it somehow. Recollecting Place is the story of how the teller’s connections with the place in questions offer a version of the truth that can inform the design in a way that is different, and arguably more appropriate than if the site had been investigated by more traditional methods.

This thesis demonstrates the effects of applying lighting principles developed for 3D computer graphics production to well-known historical 2D paintings. The visual analysis and cinematographic direction is derived from the iterative review-critique- review process used in production of 3D animated films and the imposition of a narrative purpose for re-lighting. This thesis focuses on five of the important fundamentals of lighting design, adapted and defined by Pixar Animation Studios Director of Photography Sharon Calahan in “Storytelling Through Lighting: A Computer Graphics Perspective.” The results are 2D images that are easily recognizable as adaptations from the original paintings, but that communicate a distinctly different visual impression. Each re-lit painting serves as an example of the lighting principle employed and offers a unique viewpoint on a well-known artwork.

The managers in this research report that strategic stories are scarcely used in large international companies, which are described as contexts of logical argumentation, where credibility from functional expertise and logical persuasion is paramount. Managers describe a need to wear ???corporate armour.??? Multicultural aspects engender many communications challenges. / Many risks are thus seen in strategic storytelling. Storytelling is viewed as easy to do badly, and very hard to get right, requiring time and effort that offer only marginal returns. The risks, which appear to outweigh the potential gains, have to do with performance risks: a loss of personal and professional credibility, a failure to tell a story that is relevant to the audience, organizational resistance to storytelling and the fear of anti- or counter-stories. / Nevertheless, strategic storytelling is perceived to be a potentially valuable communication tool for managers in large international companies, especially as a complement to other, more widely used communication vehicles. The emotional power of storytelling is seen to be its highest value: in certain situations, it can help managers achieve their communication goals more effectively than conventional communication modes. / Thesis (DBA(DoctorateofBusinessAdministration))--University of South Australia, 2006.

The managers in this research report that strategic stories are scarcely used in large international companies, which are described as contexts of logical argumentation, where credibility from functional expertise and logical persuasion is paramount. Managers describe a need to wear ???corporate armour.??? Multicultural aspects engender many communications challenges. / Many risks are thus seen in strategic storytelling. Storytelling is viewed as easy to do badly, and very hard to get right, requiring time and effort that offer only marginal returns. The risks, which appear to outweigh the potential gains, have to do with performance risks: a loss of personal and professional credibility, a failure to tell a story that is relevant to the audience, organizational resistance to storytelling and the fear of anti- or counter-stories. / Nevertheless, strategic storytelling is perceived to be a potentially valuable communication tool for managers in large international companies, especially as a complement to other, more widely used communication vehicles. The emotional power of storytelling is seen to be its highest value: in certain situations, it can help managers achieve their communication goals more effectively than conventional communication modes. / Thesis (DBA(DoctorateofBusinessAdministration))--University of South Australia, 2006.

The managers in this research report that strategic stories are scarcely used in large international companies, which are described as contexts of logical argumentation, where credibility from functional expertise and logical persuasion is paramount. Managers describe a need to wear ???corporate armour.??? Multicultural aspects engender many communications challenges. / Many risks are thus seen in strategic storytelling. Storytelling is viewed as easy to do badly, and very hard to get right, requiring time and effort that offer only marginal returns. The risks, which appear to outweigh the potential gains, have to do with performance risks: a loss of personal and professional credibility, a failure to tell a story that is relevant to the audience, organizational resistance to storytelling and the fear of anti- or counter-stories. / Nevertheless, strategic storytelling is perceived to be a potentially valuable communication tool for managers in large international companies, especially as a complement to other, more widely used communication vehicles. The emotional power of storytelling is seen to be its highest value: in certain situations, it can help managers achieve their communication goals more effectively than conventional communication modes. / Thesis (DBA(DoctorateofBusinessAdministration))--University of South Australia, 2006.

This project involves the retelling of a historic New Zealand story using a system of multiple narrations. The research is presented in three parts:1. The practical component, Last Man Hanging: a book of pictures.2. A contextualising exegesis.3. 31 months (a documentation of my visual journey). The major component of this research is the creative text, Last Man Hanging. This is a book of pictures and type that retells the story of the trial and death of Walter James Bolton; the last man hanged in New Zealand. Its narrative discourse involves the orchestration of relationships through a compendium of characters, architecture, artifacts, environments and typography. The book integrates narrative voices that may be grouped into two often-conflicting positions; the story as it appeared in newspapers at the time, and the writer's personal consideration of an alternative series of events and emphases. Though an argument of tellings the book suggests a different verdict to that established by the courts in 1956.Finally, the exegesis contextualises both works. It considers specific theoretical issues pertaining to Last Man Hanging's narrative voice and imagery.